Marketing Plan - JustOne Theatre Arts

Faith Inumoh ST20121612
‘To Increase Male participation in dance’.
Marketing Plan
Faith Olamide Inumoh
ST20121612
Ethics Number: 2020D0513
Supervisor: Dr Nicola Williams-Burnett
Cardiff Metropolitan University
BA (Hons) Marketing Management
May 2021
Word Count: 8,554
Faith Inumoh BSP6008

Declaration
I declare that this Marketing Plan for JustOne Theatre Arts has not already been accepted in material
for any degree and is not simultaneously submitted in entry for any degree. It is the result of my own
independent research except where otherwise stated through references.
Signed by: Faith Inumoh

Acknowledgments
I would like to express my gratitude to my inspiring and dedicated supervisor, Dr Nicola Williams-
Burnett at Cardiff Metropolitan University for her continual support, help and guidance throughout
the duration of this Marketing plan and my time at Cardiff Metropolitan University.
I would also like to thank Justin Sparkes, principal of JustOne Theatre Arts for giving me the
opportunity to conduct my research on his organisation which provided me with a strong foundation
in order to complete this marketing challenge.
A special thank you to those who have taken part in the research and questionnaires; without your
participation, this marketing plan would not have been possible.
Finally, I would like to thank my family and friends for their continuous support and encouragement
throughout my time at university and this marketing plan.

List of Tables
Table 1 – Stakeholder Mapping
Table 2 – Communication Objective
Table 7 – Sales Objective
Table 8 – Financial Objective
Table 9 – Integrated Marketing Mix
Table 10 – Gantt Chart Year 1
Table 13 – Key Performance Indicators (KPI’s)

List of Figures
Figure 1 – Economic: UK Unemployment Rate
Figure 2 – Social: Rising Levels of Obesity
Figure 3 – Social: Rising Levels of Obesity
Figure 4 – Market Conditions: Participation in Dance
Figure 5 – Market Conditions: Engagement in Dance
Figure 6 – Positioning Map 1
Figure 7 – Positioning Map 2
Figure 8 –Porter’s 5 Forces
Figure 9 – Customer Segment: Rachel Watson
Figure 10 – McKinsey 7s Model
Figure 11 – Organisational Structure
Figure 12 – TOWS Matrix Analysis
Figure 13 – Segmentation: Current Market 1 – Gen Z: Sarah Evans
Figure 14 – Segmentation: Current Market 2 – Millennial: Peter and Julie Edward
Figure 15 – Segmentation: Current Market 3 – Millennial: Jessica Day
Figure 16 – Segmentation: New Market 1 – Millennial: Sam Ross
Figure 17 – Segmentation: New Market 2 – Millennial: Toby Gallery
Figure 18 – Perceptual Map 1
Figure 19 – Perceptual Map 2
Figure 20 – Growth Ansoff Matrix
Figure 21 – Campaign 1: PR University Event
Figure 22 – Campaign 2: Social Media Contents - Instagram
Figure 23 – Campaign 2: Social Media Contents – Facebook
Figure 24 – Campaign 3: SEO and Google Ads
Figure 25- Campaign 3: Website
Figure 26 – Campaign 4: Pre-launch for Competition and Hashtag (#JTCallingallthemales)
Figure 27 – Campaign 4: Competition and Hashtag (#JTCallingallthemales)

Table of Contents
Declaration ................................................................................................................................... 2
Acknowledgments ........................................................................................................................ 3
List of Tables ................................................................................................................................. 4
List of Figures ................................................................................................................................ 5
1.0 Introduction ............................................................................................................................ 8
2.0 Situational Analysis ................................................................................................................. 9
2.1 Macro – Environment ................................................................................................................. 9
2.1.1 Political .................................................................................................................................... 9
2.1.4 Economic................................................................................................................................ 10
2.1.8 Social...................................................................................................................................... 11
2.2.3 Technological ......................................................................................................................... 13
2.2.5 Legal ....................................................................................................................................... 13
2.3.1 Environmental ....................................................................................................................... 14
2.4 Micro-Environment ................................................................................................................... 15
2.4.1 Market Conditions ................................................................................................................. 15
2.4.4 Market Competitiveness ........................................................................................................ 16
2.4.7 Competitor Analysis ............................................................................................................... 18
2.4.8 Industry structure (Porter’s 5 Forces) ..................................................................................... 19
2.4.9 Customer Segment ................................................................................................................. 20
2.5 Intermediaries, Suppliers and Stakeholders .............................................................................. 21
2.6 Internal – environment ............................................................................................................. 22
2.7 TOWS Analysis .......................................................................................................................... 25
3.0 Objectives ............................................................................................................................. 26
3.1 Communication Objective......................................................................................................... 26
3.1.3 Sales Objectives ..................................................................................................................... 28
3.1.5 Financial Objectives ............................................................................................................... 28
4.0 Strategy ................................................................................................................................. 29
4.1 Segmentation............................................................................................................................ 29
4.2 Targeting ................................................................................................................................... 33
4.3 Positioning ................................................................................................................................ 33
4.4 Digital Strategy ......................................................................................................................... 36
4.5 Growth Ansoff Matrix ............................................................................................................... 36
4.6 Justification of the chosen Strategic Decision ........................................................................... 37
5.0 Tactics ................................................................................................................................... 39

5.1 Integrated Marketing Mix ......................................................................................................... 39

5.2 Campaign 1 – PR University events ........................................................................................... 40
5.3 Campaign 2 – Social media Contents......................................................................................... 42
5.4 Campaign 3 – SEO, Google Ads.................................................................................................. 44
5.5 Campaign 4 – Pre-Launch for Competition and Hashtag ........................................................... 46
6.0 Action .................................................................................................................................... 48
6.1 Gantt Chart ............................................................................................................................... 48
6.1.1 Year 1 Gantt Chart.................................................................................................................. 48
6.1.2 Year 2 Gantt Chart.................................................................................................................. 49
6.1.3 Year 3 Gantt Chart.................................................................................................................. 50
7.0 Control .................................................................................................................................. 51
7.1 KPI’s (Key Performance Indicators) ........................................................................................... 51
7.2 Contingency Plan ...................................................................................................................... 52
8.0 Appendices............................................................................................................................ 53
8.1 Appendix 1 – PESTLE Analysis ................................................................................................... 53
8.2 Appendix 2 – Micro Analysis ..................................................................................................... 55
8.3 Appendix 3 – Number of daily active Facebook users ............................................................... 56
8.4 Appendix 4 – Questionnaire with males 18+ ............................................................................. 57
8.5 Appendix 5 – Questionnaire with parents with male child/children ......................................... 58
8.6 Appendix 6 - Mission statement and Brand Values ................................................................... 59
9.0 References ............................................................................................................................ 60

1.0 Introduction
Justone Theatre Art is a UK performing arts school that provide outstanding sessions in Dance, Singing
and Acting. As an organisation, one of their greatest challenges is increasing male participation in their
dance classes. This studio has fully experienced and industry professional teachers who are skilled in
all abilities beginner to advanced level in Jazz, Tap, Ballet, Contemporary, Ballroom, Singing, Acting etc
(Justone Theatre Arts, 2020).
The marketing challenge for this plan is to increase male participation in dance by working with a
dance company known as “Justone Theatre Arts”.
According to Statista, in 2015, there was only 14% of male participation in dance classes such as
ballroom, contemporary, jazz, country, ballet, etc. Whilst there were 27% of female participation, as
well as the overall participation of male and female in England (Statista, 2015). Disassembling the
stigma surrounding males doing dance could be one of the keyways to increase male participation in
dance classes.
Currently, there are several developments happening in the dance market. One of the main new
trends of the dance is digital understanding such as the use of digital devices specifically made for
learning dance. Examples of this are learntodance.com (they provide free online lessons for anyone),
dancewithmadhuri.com (they provide paid dance lessons with a gamification process) directly on the
web. This means that people could learn dancing from their own home comfort (Europeana Space
Project, 2015).
Additionally, there are also dance apps such as “go dance” which has been downloaded by 1.1M
people. These devices are like smartphone or tablet to teach learning. There is also a software called
“Choreo Pro” which could help anyone choreograph a dance (Europeana Space Project, 2015).
However, all these trends seem like they could be taking over the traditional ways of dance. But it
could be argued that the public are only temporarily using these trends due to the external factors
happening in the dance market currently which is Brexit, COVID-19, Internet, etc. All of these will be
further explained and evaluated in the marketing plan (Europeana Space Project, 2015) (Statista,
2015).

2.0 Situational Analysis
2.1 Macro – Environment

A macro-environmental analysis has been carried out to highlight the major external factors that will
impact the organisation (Baines et al, 2017). The external factors are known as PESTLE (Political,
Economic, Social, Technological. Legal and Environmental).
2.1.1 Political
2.1.2 Brexit
Dance companies might be at risk after Brexit (decision by the UK government to leave the EU). This
is because dance companies in the UK benefits from EU funding through some programmes known as
Creative Europe, Horizon 2020, etc. According to a survey by (Arts Council UK, 2017), 9.3 per cent of
respondents (dance companies) have received funds from popular programmes. Most of the smaller
organisations are particularly dependent on EU funding which is why the loss of these funds would
have an impact on dance companies (Arts Council UK, 2017).
Furthermore, there is no alternative or similar UK sources that can fill the gap the EU funding after
Brexit (Ballet Position, 2018). According to (Ballet Position, 2018), 25 -33% of dancers comes from the
EEA (European Economic Area). So, small companies like Justone Theatre Art would have benefited
from this as it could help their number of members rises significantly. (See Appendix 1 for further
analysis).
2.1.3 COVID-19
Coronavirus disease/ COVID-19 is another external issue within political. It is an infectious disease
(World Health Organisation, 2020).
Covid-19 restrictions include social distancing, limiting activity time, reducing contact which has
impacted on dance companies as they are adjusting to the restrictions. This affects JustOne Theatre
Arts as they are unable to hold in person classes (GOV.UK, 2020).
Justone Theatre Arts had to readjust due to the government measures for their company to keep their
members and staff safe. The government introduced national lockdown and tiers which meant the
company had to close down because of how quickly covid-19 was spreading (Justone Theatre Arts,
2021). However, this meant that the organisation had to start lessons online, but this has proved
somewhat difficult due to the fact dance being physical. (See Appendix 1 for further analysis).

2.1.4 Economic
2.1.5 Brexit
Brexit is one of the significant indicators that will be affecting the economy. The Confederation of
British Industry (CBI) issued a report called ‘Open and Controlled: A New Approach to Immigration
After Brexit’. This report showed that 131,000 EU nationals contribute to the dance industry. One of
the major losses the dance industry will inevitably have to conquer is the restricted mobility of staff.
This means some dance companies staffs would be at risk of losing their jobs (Bridge, 2018). (See
Appendix 1 for further analysis).
2.1.6 Exchange and Inflation rates
A financial crash and recession caused by the devaluation of the pounds, this will certainly have a
blowout impact on funding for dance, culture, or any performing arts in the UK. This is why Brexit
could be the downfall of the dance industry (Bridge, 2018). If inflation rate goes up, so will dance
lessons and if people loses their jobs then disposable income falls due to dance lessons being a luxury.
Overall, this factor could have a long time impact on Justone Theatre Arts Ltd whether it is direct or
indirect. This is because it affects the purchasing power of consumers which could change the supply
and demand in the economy and the way companies value their services (Bridge, 2018).
2.1.7 Unemployment
The unemployment rate in the UK has been at a steady pace for years. But it has increased and keeps
rising due to Covid-19. According to (BBC, 2021), employees in the entertainment industry have been
severely hit. A graph below by (BBC, 2021) shows the gradual increase in the unemployment rate.
As a result of the coronavirus lockdown, disposable incomes will fall to £515 per household monthly
as workers either lose their jobs, accept reduced pay and/or hours, or are placed on furlough (CEBR,
2020). Due to this outcome, dance companies like Justone Theatre Arts will be impacted because
consumers might not be able to afford to pay for dance classes anymore which means demand will
fall (CEBR, 2020).
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Faith Inumoh (Figure 1, UK unemployment rate) BSP6008

2.1.8 Social
2.1.9 Interest and disinterest in Dance
According to One Dance UK, there is a significant decrease of participant in GCSE, AS Level and A-Level
over the past years. In 2008/09, for GCSEs, there were 16,589 individuals but 9,418 individuals in
2018/19. For AS Level, 3,561 in 2008/09 and 97 in 2018/19. For A-Level, 1,966 in 2008/09 and 1,102
in 2018/19. All of these facts show that students are becoming more and more disinterested in dance
(One Dance UK, 2009). (See Appendix 1 for further analysis).
However, according to the Foundation for community, approximately 4.8 million people in the UK
participate in community dance each year. It is known to be a popular activity for 5 million participants
which is about 10% of the UK population (Richards, 2013).
Research by Barclays shows that 76% of men participate in dance because they believe it is a great
way to keep fit. It also stated that 1 in 10 men have taken up dance because of the 'Darren Gough
effect'. This effect is an athlete that had a major near death experience, so he decided to take up
dancing to help keep fit and he was also on ‘Strictly Come Dancing’ (Richards, 2013).
2.2 Dance shows
Dance shows such as ‘Got to Dance’ ‘Britain’s Got Talent’ and ‘Strictly Come Dancing have become
quite popular because of the celebrities on the shows (Richards, 2013). Due to this influence, Gen Z
generations are more likely to want to be a dancer compared to their parent’s generations. Dance is
now featuring in the top four most popular jobs in this generation. This is due to the popularity of
these television shows as well as movies popularizing certain types of dance (Richards, 2013). (See
Currently, the cultural allure with dance provides a harsh distinction in the UK where it positions dance
as a female activity and when men participate, they are associated with homophobic sigma which has
become a social issue. However, because of shows like ‘Strictly Come Dancing’, men are becoming
more interested in dance (Richards, 2013).
This factor is significantly important for dance companies when targeting customers because it helps
them make a connection and build relationship with their consumers. In addition, this also articulates
something about dance companies such as Justone Theatre Arts Ltd because of the local workforce
and willingness to work under these certain conditions (Richards, 2013).
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2.2.1 Rising levels of obesity
Obesity has been a growing problem that keeps rising in the UK. The graph below conducted by (NHS,
2020) shows the rising levels of obesity in the UK over many years.
(Figure 2, Rising levels of obesity)
Another research based on gender concluded that 67% of men and 59% of women were classed as
being overweight or obese (NHS, 2020). This statistic shows that more men are overweight. However,
keeping active can help people lose weight or stay at a healthy weight. Physical activity such as dance
can be quite beneficial for this, but people are declining physical activity which is key contributor to
obesity (NHS, 2020). (See Appendix 1 for further analysis).
(Figure 3, Rising levels of obesity)
2.2.2 COVID-19
Due to Covid-19, people might be trying to keep active and busy during lockdown so learning dance
online might be a way to do so. This could be a good factor for dance companies such as JustOne
Theatre Arts because when the UK gets out of lockdown, individuals might want to keep pursuing
dance at a dance company rather than online (BBC, 2021).
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2.2.3 Technological
2.2.4 Internet
Justone Dance Theatre Art uses the internet and social media to promote their services and engage
with their members and to attract new members. However, their website does not have much
information on the company, as there is only one page, but other dance companies have different
pages such as their gallery, price list, members, dance competitions etc (Justone Theatre Arts, 2021).
They do not have an app, but some dance companies do. This could help improve how they can get
more males and females into the studio (Justone Theatre Arts, 2021).
There are some other technological factors that Justone Theatre Arts have to put into consideration
such as zoom, booking online and ordering which will assist in making dance accessible. For example,
due to Covid-19, some of Justone Theatre Arts classes have to be online (Ashley, 2016). Classes will
need to be booked online first if you were a new member, enquiries will also need to be made online,
payment will be made online and ordering member’s uniforms for performances online as well
(Ashley, 2016). (See Appendix 1 for further analysis).
2.2.5 Legal
Justone Theatre Arts need to ensure that in order to trade successfully and ethically, their company
need to know what is and what is not legal. It is important for dance companies need to be aware of
any potential changes in legislation and how it might or will impact their business. This is because the
sector benefits from the EU laws and legislations (Art Council England, 2017). (See Appendix 1 for
further analysis).
2.2.6 Copyright Law
This law is about protecting original creative choreographic works of choreographers from being
copied or used without the copyright owner’s permission (even if the chorography has been adapted).
According to Copyright, Designs and Patents Act 1988, a dance is classified as “dramatic work”. So,
dance moves meet the criteria for protection under the Copyright Law as long as the dance is original,
fixed and recorded in a permanent form (Hutchins, 2014). This law could affect the dance market
because more people will have to know about this law, so they do not face a lawsuit. It will also prevent
choreographer from their work being stolen.
2.2.7 Consumer Rights
This legislation was created in 2015. It protects consumers rights when they buy goods or services.
(See Appendix 1 for further analysis). JustOne Theatre Arts needs to understand this law as this could
affect them because if their qualified dance teachers (as said on their website: JustOne Theatre Arts,
2021) are not satisfactory quality, fit for purpose and as described then the members of the
organisations have the right to take actions if the service they have provided is not up to standards
(Legislation GOV UK, 2020).
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2.2.8 Data Protection Act (GDPR)
This law regulates the use of personal data. The Act is about fairly and properly using information
about people which is the fundamental right to privacy (Information Commissioners Office, 2020).
Justone Theatre Arts Ltd will need to keep their member’s information private, this information could
be name, address, bank details etc. Also, if the data is not needed, they should be deleted (Information
Commissioners Office, 2020). This is because the dance market could be affected if this law is not
followed.
2.2.9 Health and Safety at Work Act
This Act makes sure organisations works to ensure that a safe environment is maintained always for
their staff and members and towards each other. Justone Theatre Arts has a responsibility to ensure
the Health and Safety of all their employees and members (Health and Safety Executive, 2020).
To ensure the health and safety law is being followed, there should be an annual health and safety
check (Health and Safety Executive, 2020). Justone Theatre Arts could create a safety plan in cases an
incident does occur. (Health and Safety Executive, 2020). (See Appendix 1 for further analysis).
2.3 DBS (Disclosure and Barring Service) Check
This is a check of your criminal record which will show details of all spent and unspent convictions
(GOV.UK, 2021). DBS check is essential and eligible for anyone engaging in controlled activity with
children. This is because these activities e.g., dance, involve care or responsibility for vulnerable
people. The company and their employees will be eligible for an enhanced DBS check against the
children's barred list as this could affect the dance market (GOV.UK, 2021).
Justone Theatre Arts employees must meet certain eligibility criteria in order to allow the dance school
to apply for a DBS check on their behalf, as this is a legal requirement by the government upon the
dance school. (Griffiths, 2018).
2.3.1 Environmental
This factor could be because of the geographical location. Temperate of the dance studio etc. (See
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2.4 Micro-Environment
This section will discuss Micro-environment. These are the factors in a company’s current environment
which affects their performances. These includes, structure of the market, the suppliers, customers,
stakeholders, trends of the market, competitor analysis, customer segment (Baines et al, 2017).
This report will be using Porter’s Five Forces Model (1979) to analyse and consider the micro-
environment factors that could affect Justone Theatre Arts Ltd.
2.4.1 Market Conditions
The dance industry in the UK is worth £92 million (One Dance UK, 2018). According to recent statistics,
UK dance sector is made up of a 40,000 workforce. This includes a wide supply chain of dancers,
artistic, administrative, musicians and many more supporting the dance sector (One Dance UK, 2018).
According to an equivalent research from the US, over the next five years from 2019, dance industry
worldwide revenue has been given an estimated growth of 1.4% in 2019 alone (One Dance UK, 2018).
2.4.2 Economic Recession
In 2009, there was an economic recession which affected many dance industries (Arts Council, 2010).
This resulted in a decline of disposable income which worsened unemployment in the dance industry
as many consumers saw this as an area to economise (Arts Council, 2016).
Dance studios industry did survive the recession and additionally experienced annual revenue growth
over the past five years (Arts Council, 2010). Arts Council England and UK announced an extra £44.5
million investment in the performing arts organisations for the next two years. This will help to
performing arts organisation maintain artistic excellence during the economic downturn (Arts Council,
2010).
2.4.3 Participation and Engagement Statistics
In 2016, 8.2% of adults in the UK had participated in dance and 17.2 engaged in dance. These numbers
have been increasing ever since (Arts Council, 2016). Additionally, there are some factors that
contributes to this such as age (75+ age group had lower engagement in dance than those aged 25-
74), socio-economic (adults in the upper socio-economic group were more likely to have engaged in
dance than adults in the lower socio-economic group and age (Statistics shows that a greater
proportion of women had engaged in dance in the past year compared with men) (Arts Council, 2016).
However, the number of men that participate in dance is steadily increasing (Arts Council, 2016).
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(Figure 4, Participation in Dance)
(Figure 5, Engagement in Dance)
Overall, these statistics indicates that the dance market is prospering and estimated to rapidly
progress within in the next few years. Therefore, if the estimations turned out as expected the dance
industry will grow in sales (One Dance UK, 2018). (See Appendix 2 for further analysis).
2.4.4 Market Competitiveness
JustOne Theatre Arts Ltd has many competitors which are Edwards Dance studio, Rubicon Dance,
Shappelles, Pekary Dance school, Miranda Lee Dance and Vale school of Dance and Health. Below are
two positioning maps of Justone Theatre Arts Ltd and their competitors. Positioning map 1 shows
JustOne Theatre and their competitors based on what they offer, the prices, their reputations etc
(JustOne Theatre Arts, 2021).
Positioning map 2 shows JustOne Theatre Arts and their competitors and the range of dances they
offer and cost such as Contemporary, Jazz, Modern, Street, Ballet, Ballroom, Tap etc. However,
JustOne Theatre Arts also offer singing and acting compared to their competitors as they do not offer
this (JustOne Theatre Arts, 2021).
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2.4.5 Positioning map 1
(Figure 6, Positioning map 1)
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2.4.6 Positioning Map 2
(Figure 7, Positioning map 2)
2.4.7 Competitor Analysis
The organisation will be a new entrant to the professional section in the dance industry if they want
to go national. This means they have little to no experience on how to train students to be professional
dancers where they can work for celebrities as dancers or start in a professional musical (JustOne
Theatre Arts, 2021).
Justone Theatre Arts need to understand their competitors, and this can be done by using Porter’s 5
forces which will show the level of competitiveness in the dance industry. The Porter’s 5 forces analysis
can help a company access how trends will affect industry competitions, how companies can
successful position themselves, what makes their company appealing and what sector the company
should compete in (Porter, 1979). A full analysis of Porter’s 5 forces can be found in appendix 2.
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2.4.8 Industry structure (Porter’s 5 Forces)
(Figure 8, Porters forces 1979)
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2.4.9 Customer Segment
Justone Theatre Arts does not have a specific demographic because they cater for anyone aged 5-18
years and provide adult classes (Over 18+) (JustOne Theatre Arts, 2021). However, the organisation
has developed a long-term relationship with their customer as shown on their website (JustOne
Theatre Arts, 2021).
This is done through delivering consistent customer satisfaction and creating real value for them
(Weiss et al, 2008). This is because it creates trust between the organisation and the customers (Weiss
et al, 2008). An example of a customer persona of a typical customer of Justone Theatre Arts has been
attached below.
(Figure 9, Customer segment)
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2.5 Intermediaries, Suppliers and Stakeholders
JustOne Theatre Arts does not have any intermediaries, but they do have suppliers, stakeholders and
customers that will be considered in this challenge. Justone Theatre Art Ltd must be cautious of their
stakeholders because they have a huge impact on company and its performances (Reeves and
Deimler, 2011). JustOne Theatre Arts suppliers include their dance wear organisations, the companies
they purchase their customers, uniforms, equipment etc (JustOne Theatre Arts, 2021). (See Appendix
2 for further analysis).
2.5.1 Stakeholder mapping
A Stakeholder map has been created below. This is to get visual representation of all the people who
can influence the organisation on one map and how they are all connected (Fletcher et al, 2003). This
is because the JustOne Theatre Arts are responsible for providing the best quality service to their
members (Fletcher et al, 2003).
JustOne Theatre Arts and their employees need to be invested in the way they deliver their service
because the stakeholders’ opinions do matter, and they will be concerned with the profit and overall
efficiency in the organisation (Fletcher et al, 2003).
(Table 1, Stakeholder mapping)
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2.6 Internal – environment
An internal environment has been conducted in this marking. It will evaluate and understand the
abilities and skills of JustOne Theatre Arts, mission statement and brand values, organisational
structure, staff competencies, and capabilities (Baines et al, 2017).
JustOne Theatre Arts does not have a mission statement; however, one has been created for them
(see appendix 6). McKinsey 7s Model has been used to analyse the internal environment. This involves
7 components that can help an organisation address their role and structure effectively (McKinsey,
2008).
2.6.1 McKinsey 7s Model
Structure
Strategy Systems
Shared
Values
Skills Style
Staff (Figure 10, McKinsey 7s Model)
2.6.2 Strategy
Justone Theatre Art’s strategy is based on bringing people together through dance by focusing on their
passion and why they enjoy dancing. Their differentiation in teaching is what sets them apart from
their competitors because of their customer persona/target audience. Their strategy is focusing on
the sustainability and marketing, they will be able to fulfil their goals and give them a competitive
advantage over their competitors (McKinsey, 2008).
2.6.3 Structure
This organisation runs under a democratic leadership where responsibility is shared equally amongst
staffs as they are all trained to the same standards. But the final decisions were made by the Principal
(McKinsey, 2008).
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Owner/Principal
Justin Sparkes
Vice
Principal
Jacquelyne Rothwell
Dance Dance Dancer Dance

Teacher Teacher Teacher Teacher
Kelley Philipart Nicole Boardman Carys Philips Natasha Reynolds
(Figure 11, Organisational structure)
An organisational structure has been done which can be found above in this appendix. This is an
organisational structure of JustOne Theatre Arts. It shows the staff and who reports to whom. This
structure is influenced because of certain factors such as the facility and organisation size, employee
size, profits, and members (McKinsey, 2008).
2.6.4 System
The procedure and technique used in this organisation is training, rehearsals and practicing constantly
in order to give their members the best (JustOne Theatre Arts, 2021).
2.6.5 Shared values
JustOne Theatre Arts does not have specific core values, However, they want to “provide quality
performing arts tuition and a space to learn and practice” (JustOne Theatre Arts, 2021). This reference
will be used to guide the organisation’s actions and behaviour of the employees.
2.6.6 Style
Participative leadership is the type of leadership style adopted by Justin Sparkes; the founder styled
the organisation (JustOne Theatre Arts, 2021). This leadership style is rooted in the democratic theory
because staff are involved in the decision making process which makes the staff feel included and
motivated (IMD, 2020). Although, the decision making process could be time consuming, it encourages
the staff’s creativity. The focus of this was to bring people together though dancing (IMD, 2020).
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2.6.7 Staff
Justone Theatre Arts seek to hire staff that has difference and important experiences. Various jobs
require different education level and being a staff at this organisation requires you to have all the
educational levels and most importantly dance qualifications (JustOne Theatre Arts, 2021).
Justone Theatre Art is still a small organisation, so they do not hire a lot of staff but currently, they
have 6 staff members who are full equipped in every types of dance, singing and performing arts
2.6.8 Skills
Justone Theatre Arts employ their staff based on their skills and qualifications. Their employees are
often sent on training courses to keep up to date and maintain their ability (JustOne Theatre Arts,
2021). The organisation’s work culture is unique, fun and their staff are always thinking outside the
box when it comes to delivering the best quality of teaching to their students (JustOne Theatre Arts,
2021).
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2.7 TOWS Analysis
A comprehensive list of Strengths, Weaknesses, Opportunities and Threats relating to the organisation
has been identified (Baines et al, 2017).
A TOW analysis has been conducted below. The TOWS is derived from the SWOT Analysis. By using it,
it can give the best advantage of opportunities for the organisation, minimise weaknesses and threats
(Baines et al, 2017).
(Figure 12, TOWS Matrix)
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3.0 Objectives
The main objective of this plan is to increase male participation in dance. In order to achieve the
overall objective, 3 key sub-objectives have been identified to increase male participation in dance
over a 3 year time period.
3.1 Communication Objective
3.1.1 Brand Awareness
• Increase overall brand awareness (recall & recognition) of Justone Theatre Arts by 20% by
the end of the third year.
This will be a linear increase in percentage each year but not a linear increase in number. This is
an annual multiplier of 1.0627 each year or 6.27% compound increase.
Increasing brand awareness and consumer engagement through social media platforms, moving
them from awareness to brand advocate (Keller, 2008).
Facebook
Time From To Increase in %
Year 1 1,060 1,126 6.27%
Year 2 1,126 1,197 6.27%
Year 3 1,197 1,272 6.27%
(Table 2, Brand awareness)
Instagram
Time From To Increase in %
Year 1 370 393 6.27%
Year 2 393 418 6.27%
Year 3 418 444 6.27%
(Table 3, JustOne Theatre Arts, 2021)
• Increase how many males join JustOne Theatre Arts by an average of 1 individual per year
for 3 years. This is because the number of males is quite low so it would be reasonable to start
gradually adding one male per year which will lead to a 60% increase by the end of the third
year. The average annual increase is 16.96%. However, the yearly increase has gone down
because of the increase in male.
This will be done by studying the number of male visitors on Justone Theatre Arts social media
platforms (Facebook and Instagram). This is because it will highlight the demographic for a
potential increase in sales and customer acquisition (Decker, 2021).
Number of males (per year)

Time From To Increase yearly %
Year 1 5 6 20%
Year 2 6 7 16.66%
Year 3 7 8 14.29%
(Table 4, JustOne Theatre Arts, 2021)

26
)
3.1.2 Customer Engagement
These objectives will be aimed to achieve an increase of followers and social media interactions on
Justone Theatre Arts social media platforms which will create a larger presence online and offline
(Keller, 2008).
Increase Facebook followers by 10% each year over the 3 year time period. As a result, this figure is
based on the number of Facebook users worldwide relative to Instagram users (Statista, 2020). (See
Appendix 3 for graph).
Justone Theatre Arts current average of followers sits are 1,060. According to the primary research
conducted with the Principal of the organisation, Justin Sparke, he explained that the numbers of
followers on their Facebook platform has been at the same pace for a couple of years now (Sparkes,
2021).
This is why an increase in followers will benefit the organisation because it will build social trust and
increase the organisation’s brand recall values which will lead to more male and female dance
members. (Keller, 2008).
Increasing number of followers (Facebook)

Time From To
Year 1 1060 1166
Year 2 1166 1283
Year 3 1283 1411
(Table 5, Customer Engagement)
Increase Instagram followers by 3.6% per year over the 3 year time period. Justone Theatre Arts
current followers are 370. This will be an increase of 11.2% by the end of the 3 year period.
As a result, this figure is based on the number of Instagram users worldwide relative to Facebook users
(Dean, 2021).
Increasing number of followers (Instagram)

Time From To
Year 1 370 383
Year 2 383 397
Year 3 397 411
(Table 6, Justone Theatre Arts, 2021)
Increase engagement rates on social media Platforms.
• Facebook average likes of 15 per post to 530 (half of the followers on Facebook) over a 3 year
time period.
• Instagram average likes of 15 per post to 185 (half of the followers on Instagram) over a 3
year time period. (JustOne Theatre Arts, 2021).
• Facebook average comments and shares of 3 per post to 150 over a 3 year time period.
• Instagram average comments and shares of 3 per post to 50 over a 3 year time period.
27

The organisation has approximately 3 times more Facebook users than Instagram, so the above
figures reflect this ratio.
3.1.3 Sales Objectives
3.1.4 Increase male Sales.
Since the organisation has not provided access to the sales figures, we are using number “1” as a figure
to use for this calculation. This stands for 1 lot of the current sales and all subsequent calculations are
using this to indicate multipliers of the currently unknown sales.
Increasing sales for all services provided by JustOne Theatre Arts by 15 % every year in the 3 year
time period. Starting with initial sales as a factor of 1 with an increase of 15% in sales per annum. By
the end of the 3 year period, an overall growth of 52% can be predicted.
This will help the organisation make extra profit each year which they could put towards their
advertisements of the services they offer which in turn lead to more members (Hart, 2020).
Increasing number of male Sales

Time From To Increase (%)
Year 1 1 1.15 15
Year 2 1.15 1.32 15
Year 3 1.32 1.52 15
(Table 7, Sales objectives)

3.1.5 Financial Objectives
3.1.6 Increasing number and share of sales.
Increase market share by 10% by generating sales from website traffic driven from social media
platforms over a 3 year period. This will be measured via the success of how many male and female
participants the organisation has acquired, which will link in with the organisation’s main objective to
increase male participation in dance. This is important as it will give an advantage for JustOne Theatre
Arts over their competitors. (JustOne Theatre Arts, 2021).
In addition, this could help JustOne Theatre Arts work out how many males they will need to increase
their annual profits or if the lack of male members is why their sales and share might not be increasing.
Increasing number and

Share of Sales
Time From To Percentage increase
Year 1 1 1.0323 3.23%
Year 2 1.0323 1.0656 6.56%
Year 3 1.0656 1.1 10%
(Table 8, Financial objectives)
This table indicates an increase in a number of males’ participants which will reflect an increase in
participants of both genders.
28

4.0 Strategy
The section will outline the chosen strategies which JustOne Theatre Arts will adopt when increasing
male participation. STP (Segmentation, Targeting and Positioning) analysis, digital marketing
strategies and Ansoff Matrix will be used to demonstrate a clear understanding of who will be
targeted, how objectives will be met and how this can be tailored when it comes to satisfying
customers wants and needs (Baines et al, 2017). These strategies are crucial because they are what
the organisation’s foundation will be built upon when it comes to their tactics.
On the other hand, strategy is more than an organisation achieving their objectives and goals, it is also
about the organisation and their customer building long-term relationships (Ferrell and Hartline,
2013).
4.1 Segmentation
Segmentation is identifying the market segments then dividing the customers within the market into
distinct segments based on certain factors like geographic, demographic, psychographic and
behavioural that influence their marketing actions (Baines et al, 2017: Beech and Chadwick, 2007).
This is effective because it will help JustOne Theatre Arts focus their limited resources on meeting
males needs as to why they might not be participating in dance. Some of the reasons that were found
out in the primary research where males aged 18-25 were asked why they do not participate in dance
are; not being confident, no coordination/rhythm, lack of skills, lack of male participation puts other
males off, embarrassment/bullying, and self-imagery. Evidence of this primary research can be found
in appendix 4 and 5.
By segmenting their market, JustOne Theatre Arts will have the opportunity to connect with their
consumers in a more intimate and customised way which will help effectively when creating a
customer profile to better understand their wants and needs (Beech and Chadwick, 2007).
This plan will be looking at JustOne Theatre Arts current market and the new market. This will help
expand the range of people JustOne Theatre Arts will reach in order to increase their male
participation in their organisation. The current market was identified by researching JustOne Theatre
Arts social media pages and website (JustOne Theatre Arts, 2021).
29

4.1.1 Current Market 1 - Gen Z
(Figure 13: Google Images, 2021)
4.1.2 Current Market 2 - Millennials
30

4.1.3 Current Market 3 – Millennial
Sarah Evans, Peter & Julie Edward, and Jessica Day are JustOne Theatre Arts current market. They are
the types of individuals the organisation is attracting. Peter & Julie are from the generation where
they have two families with two incomes with an uncertain economy due to the recession (Lowrey,
2020). The Millennial generation had to work hard to get to where they are now (Lowrey, 2020).
Compared to Gen Z, where everything is all laid out for them such as technology, money, social media
etc. Sarah is an example of a Gen Z, as shown, they are pragmatic, money focused and independent
(Young, 2021).
The best way to target millennials and Gen Z is quite similar, they can both be targeted online (for
example, social media, internet) to inform the purchase decision (Young, 2021).
31

4.1.4 New Market 1 – Millennial
Figure 16: Google Images, 2021)
4.1.5 New Market 2 - Millennial
32

Target audience has been identified from the primary research conducted with males aged 18 – 25
and parents with male children 4+. These are the type of people that JustOne Theatre Arts needs to
target in order to reach their objectives. In order to reach and attract these target audience, a
communication strategy must be created based on their media habits (Kotler and Armstrong, 2016).
4.2 Targeting
This plan will utilise campaigns consisting of niche/concentrated targeting. This approach will be used
in coordination with the needs outlined in segmentation (Baines et al, 2017).
For JustOne Theatre Arts, a niche/concentrated marketing will be used to influence their target
audience because it is a better way to focus on their audience in a more subjective way. Furthermore,
there is a gap in this organisation which is male participation so niche marketing is the best way to
target a small group like this.
However, the communication strategy will be different for Sam Ross and Toby Gallery but both target
audience will incorporate internet and social media which is why a digital focus and social media is
good (Kotler and Armstrong, 2016). Gen Z like Sam Ross are interested in not just the products but the
experience and the benefit the product will provide (Young, 2021). Whereas Millennials like Toby
Gallery is about the product with a bit of experience (Young, 2021).
Overall, it is important to understand the generation an organisation’s target audience falls under
because it will help send the suitable message to the appropriate target individuals (Fill, 2013). Both
males aged 18 – 25 and parents with male child/children will be targeted using niche/concentrated
strategy based on their social media platforms, brands, influences and personality as this will be
suitable for both targeted audiences (Baines et al, 2017).
4.3 Positioning
JustOne Theatre Arts want to create and occupy a distinct positioning in their target consumer’s mind
(Kotler et al, 2001) because it is the customer’s view of the organisation that matters. In order to do
this, they must meet the needs of their audience which has been established in the primary research
conducted (See Appendix 4 and 5). The results from the questionnaire explained the reasons why
males do not participate in dance, these needs must be met. A clear position will encourage customers
to engage with the organisation because failure to establish a clear position could result in customers
going elsewhere (Baines et al, 2017).
Two perceptual maps have been created which will display a clear understanding of where JustOne
Theatre Arts are in relation to the competitors as mentioned in the micro analysis. This will help
JustOne Theatre Arts recognise how customers see them and evaluate alternative in the dance market
(Baines et al, 2017).
33

4.3.1 Perceptual Map 1
(Figure 18, Perceptual map 1)
Perceptual map 1 have been created based on segmenting JustOne Theatre Arts and their
competitor’s performance and cost abilities. The High/Low performance means how good the
organisations are at what they offer customers. This is used because of the reviews given to these
dance organisations by customers on their social media platforms and their websites (JustOne Theatre
Arts, 2021).
As shown above, the organisation has established a good position as the have high performance rate
and moderate cost which is quite beneficial for when consumers are trying to decide on which dance
organisation is the best at what they do. It provides an indication of how consumers perceive the
organisation against their competitors and shows opportunity in the dance market. However, JustOne
Theatre Arts would improve their performance skills as shown with the red circle which would be
beneficial in increasing male participation in dance (Smith, 1956).
34

4.3.2 Perceptual Map 2
(Figure 19, Perceptual map 2)
Perceptual map 2 is based on technology presence and the quality of JustOne Theatre Arts and their
competitors. This marketing plan aims to increase male participation in dance for JustOne Theatre
Arts so having a good technology presence online is important because it raises awareness of the
organisation and what they have to offer their customers (Smith, 1956).
As seen above, JustOne Theatre Arts are not in a good technology presence which means they need
to improve on this (Smith, 1956). This could be done by improving their website, social media
platforms, making some lessons online/ flexible etc. JustOne Theatre Arts increasing their presence
and quality of content they offer; it will give them a competitive advantage.
JustOne Theatre Arts needs to effectively develop and reposition their organisation’s technology
presence as they need to be where the red circle is. This will attract customers attention and what
they associate the organisation with as it shows they are in communication with their customers
(Smith, 1956).
35

4.4 Digital Strategy
This strategy will focus on using technology to improve JustOne Theatre Arts business performance
(Chaffey, 2021). This will give the organisation direction to create new competitive advantages with
technology (Chaffey, 2021). This is important because there have been significant developments in
technology and social media which has forced many organisations to adapt their marketing strategy
by changing customer’s needs and behaviours (Baines et al, 2017).
According to (Wang et al, 2015), the general public are becoming more dependent on social media for
their information. This shows why it is important to use digital strategy to market to target audiences
(Chaffey, 2021).
Digital strategy is important for JustOne Theatre Arts because it will aid the success of the outlined
objectives in this plan. This strategy will be centred towards meeting the customers’ needs by using
digital engagement that has been identified in the different segments (Chaffey, 2021).
Implementing digital marketing strategy is appropriate as it will reach the target segments using their
preferred media consumptions as found out in the primary research (Wang et al, 2015). Overall, if
done right, these strategies will help inform JustOne Theatre Arts target audiences and customer the
benefits it will offer them as well as pleasing their stakeholders (Chaffey, 2021).
4.5 Growth Ansoff Matrix
The expected growth of JustOne Theatre Arts will be explained using the Ansoff Matrix (Ansoff, 1957).
This framework is important because it aids the direction of this marketing plan objectives to be
focused appropriately. This marketing plan will focus on Market Development as that is where JustOne
Theatre Arts are. This strategy is when an organisation attempts to adapt their products or services to
a new market (Ansoff, 1957).
JustOne Theatre Arts will be marketing their existing services to a new market (males and parents with
male child/children). This will be a good step for growth for the organisation because this challenge
will help achieve development in order to adapt and stay as one of the top competitors in the dance
market (Ansoff, 1957). In addition, utilising the idea of selling an experience would be a way for the
organisation to grow as it will build brand awareness on the services, they offer but this needs to be
done right or it could be disapproved by the new market (Ansoff, 1957).
36

JustOne
Theatre Arts
(Figure 20, Ansoff Matrix)
4.6 Justification of the chosen Strategic Decision
SAF model by (Johnson et al, 2008) will be used to evaluate the strategic decision of this marketing
plan.
4.6.1 Suitability
Utilising the strategies highlighted above (STP, Ansoff Matrix and Digital marketing strategy), it is clear
that the overall objective/challenge is supported to the organisation’s SWOT and needs in order to
grow and develop. Implementing these strategies addresses the crucial issues presented in weakness
and opportunities in the TOWS analysis (see 2.7). It shows that using social media and technology to
advertise what JustOne Theatre Arts services offer will help raise awareness of the organisation which
will increase male participation in dance (Johnson et al, 2008).
Adopting this will be suitable based on JustOne Theatre Arts ability to reach their target segments in
their preferred media consumption. For example, conducting STP meant clear understanding of who
the different target customers are allowed space for customised offerings to be created that suit the
requirements of each segment (Johnson et al, 2008).
A weakness has been outlined in Micro-analysis (Porter’s 5 forces, see 2.4.8) that JustOne Theatre Arts
have a higher bargaining power which means customers could easily access the competitor’s
information online and switch if the brand is more beneficial for them. The STP analysis conducted
shows that JustOne Theatre Arts target audience have a high technology presence, but the
organisation does not. This means the organisation has a suitable opportunity to increase their
technological presence by using digital marketing to prevent the threat of substitution from their
customers (Johnson et al, 2008).
37

4.6.2 Acceptability
Acceptability outlines the expected performance outcome of a strategy in terms of risk, return and
stakeholders’ reactions (Johnson et al, 2008).
Risk and stakeholder’s reaction - The strategies mentioned above will help overcome any problems
that have been identified including the main challenge to increase male participation in dance which
makes it acceptable (Johnson et al, 2008). For example, focusing on market development on the Ansoff
matrix shows that there is no extreme risk which will allow the organisation and their stakeholder to
feel much relax with these strategies as it will not create uncertainty (Chaffey, 2021).
However, the threats stated in TOWS analysis (see 2.7) could cause potential risks for the strategies
mentioned above (Johnson et al, 2008). For example, disposable income falling which could lead to
increase in prices of the service provided and high competitions. Also, as shown in STP, the fact that
JustOne Theatre Arts does not have a good technological presence could be a potential risk due to
their target audiences having high technology presence and being technology savvy (Johnson et al,
2008).
Return and stakeholder’s reaction – This involves benefits that are expected to be received from a
strategy if implemented correctly. JustOne Theatre Arts can expect an increase in sales for all services
provided by 15 % every year in a 3 year time period so by the end of the 3 year period, an overall
growth of 52% can be predicted (as stated in Objective 3.1.4). This will help the organisation make
extra profit each year which they could put towards their advertisements of the services they offer
and increase male participation (Johnson et al, 2008). Overall, this will please the stakeholders.
4.6.3 Feasibility
Feasibility is about whether an organisation has the resources and competencies needed to deliver
the proposed strategies (Johnson et al, 2008).
As mentioned in the situational analysis, JustOne Theatre Arts is a small organisation, so they have
limited resources which is why the chosen strategies with moderately low implementation costs were
chosen which makes it feasible (Johnson et al, 2008). This is because all their communications with
their target audience will be digital which will reach a large and measurable audience (Johnson et al,
2008). Therefore, their investment will remain cost effective as they will be using social media
platforms and technology available online which will be easier to control and adjust if needed (Johnson
et al, 2008).
38

5.0 Tactics
This section will outline the tactics that will be used to implement the chosen strategies (see 4.0) which
will ensure the achievement of the set objectives (see 3.0). Table 9 shows the integrated marketing
mix that will be used in the campaigns which have been highlighted. McCarty (1960), Lauterborn
(1990) and Brian Fetherstonhaugh (2008).
5.1 Integrated Marketing Mix
Throughout this marketing plan, experience, exchange and everyplace will not change due to the type
of industry the organisation falls under.
4P’s 4C’s 4E’s

(McCarthy, 1960) (Lauterborn, 1990) (Fetherstonhaugh, 2008)
Product Consumer Experience
JustOne Theatre Arts are

focusing entirely on customer
experience.
Place Convenience Everyplace
Having lessons online might

help members that missed a
class.
Regular updates on social
media platforms to keep
customers updated.
Promotion Communication Evangelism
JustOne Theatre Arts will be

engaging contents online and
offline through
communications and feedback
from customers.
Price Cost Exchange
The Organisation’s customers

will be getting value for the
service they are paying for
such a reward, competitions,
learning how to dance etc.
Taking feedbacks from
customers.
(Table 9 - Integrated marketing mix)
Experience has been chosen for JustOne Theatre Arts because it is not just a product/service they are
selling but the understanding and skills needed to become a dancer. This has also been chosen
because it was previously stated by one of the male participants in the questionnaire given that “if
they had the skills and understanding of dance, they would participate”. (See appendix 4 and 5).
39

This is all about customer experience and emotion when performing which will be palliated in the
campaigns. It will help consumers recall and recognise the brand’s skill which will lead to increasing
brand awareness (Hanlon, 2020).
According to (Young, 2021), millennials and Gen Z like to consume content and information on the go
rather than later which is why everyplace has been chosen. This will reach consumers on multiple
social media platforms, online and offline, and on any devices. This will help increase brand awareness
(Hanlon, 2020).
Evangelism has been chosen because customers need to be educated about the experience JustOne
Theatre Arts is providing by letting the customers know the organisation’s purpose (Hanlon, 2020). In
turn, the customers will become brand evangelists and spread positive WOM (word of mouth) online
and offline about the organisation. Customer evangelising is more important than the organisation
promoting their service because it legitimates the brand and its cost effective. In addition, millennials
such as Jessica, Julie, Sam, Peter (see 4.1) are known to use WOM which will be good for JustOne
Theatre Arts (Young, 2021).
5.2 Campaign 1 – PR University events
To achieve objective (3.1.1, 3.1.3 and 3.1.5), this event will be a university/student event that happens
twice a year (freshers’ month and after Christmas holidays) at different universities. It will be a pop-
up stand that showcase who JustOne Theatre Arts is and what they can offer male individuals like Sam
Ross (see 4.1.4) which will allow customer to brand communication that will reinforce brand
messaging and positioning (Kotler et al, 2001). This will be a gateway to access JustOne Theatre Arts
target audience. Students are being targeted because of the common age group (18-25 years) and
how resourceful they are at raising awareness of an event. This event will also be recorded and live
stream because it will be able to reach a wider public or people that were not able to attend the event.
To entice consumers like Sam Ross to join JustOne Theatre Arts, they will need to advertise to male
individuals for that age gap and make them awareness of the organisation. This campaign will achieve
the Ansoff Matrix strategy (see 4.5). This is because the event focus on Market Development as that
is where JustOne Theatre Arts are (Ansoff, 1957). The organisation is trying to market to a new market
by creating an event.
40

5.2.1 Campaign 1 – PR University Event
41
(Figure 21, PR University Events)
5.3 Campaign 2 – Social media
Contents
42
(Figure 22, Instagram contents)
43

(Figure 23, Facebook Content)
5.4 Campaign 3 – SEO, Google Ads
(Figure, 24, SEO and Google Ads)
44

5.4.1 Campaign 3 – Website Faith Inumoh ST20121612
45
(Figure 25, Website)
5.5 Campaign 4 – Pre-Launch for Competition and Hashtag
46

(Figure 26, Pre Launch Competition and Hashtag)
5.5.1 Campaign 4 – Competition and Hashtag Faith Inumoh ST20121612
47
(Figure 27, Competition and Hashtag)
6.0 Action
6.1 Gantt Chart
Shown below are visual Gantt charts (Year 1, 2 and 3) demonstrating a step by step plan of the campaigns (see 5.0) relating to who is responsible, where,
when and the cost of the activities required to implement the campaigns (Gantt, 1974). On the Gantt chart, quarterly reviews have been outlined to safeguard
the plan and maintains its progress towards the objectives (see 3.0).
6.1.1 Year 1 Gantt Chart
48
(Table 10, Gantt Chart 1)
49

50

7.0 Control
7.1 KPI’s (Key Performance Indicators)
The following KPI’s listed below (Ordenes, 2021) will be used to monitor performance of the
campaigns (5.0) in relation to achieving the objectives (see 3.0). KPIs are important because it allow
organisations like JustOne Theatre Arts to evaluate how well they are performing in their projects
(Ordenes, 2021). This is good because it will assess effectively whether the project should continue or
if a change of strategy is needed (Ordenes, 2021).
(Table 13, KPI’s)
51

7.2 Contingency Plan
Contingency plans are strategies which are put into place to reduce risk, and cope with problems that
could arise (Heimann, 2000). If problems do arise, JustOne Theatre Arts employees and stakeholders
should conduct a meeting before campaigns to agree on the actions and spending of all budgets
(Heimann, 2000). Contingency plans include to budgets, schedules, and risks and problem predictions
(Heimann, 2000). For example, if customer engagement and brand awareness does not increase,
JustOne Theatre Arts might have to think about spending some money on advertising especially male
advertisements to meet their main aim of increasing male participation in their organisation. If the
incentive promotion (competition) is struggling to gain any attraction, then the incentive could be
altered mid-campaign to try and encourage more people to engage or add another incentive
(Heimann, 2000).
Additionally, this is why quarterly reviews are needed in order to spot any issues, if problems are not
spotted early in quarterly reviews, it may be too late to recover which could lead to negative
consequences for the organisation. Since as most campaigns utilise digital marketing, they will all
require media engagement reviews which relates to number of likes, comments, shares, clicks, swipes,
and views (Fill, 2013): (Heimann, 2000).
52

8.0 Appendices
8.1 Appendix 1 – PESTLE Analysis
8.1.1 Political
Brexit
According to Rambert Dance Company, migrant talent has contributed to the success of the dance
industry for many years now. A case study shows that half of current performers derive from the EEA,
every 6 out of 12 performers were European (Bridge, 2018).
Furthermore, Brexit will stir up the dance industry. This is because the consequences of visa travel
would be too financially expensive, as the dance company will have to keep reapplying for temporary
visit visas in each EU country, whether it is to go there to perform. On the other hand, for the dancers,
financial costs of their visa would be too expensive which could steer them to dance elsewhere
(Bridge, 2018). However, special consideration must be given to freelance dance artists doing
important work in the dance sector and their ability to move across borders. In this case, a “creative
freelancer” visa could be introduced (One Dance UK, 2018).
COVID-19
It causes respiratory illness. The best way to prevent and slow down the spread of the infection is to
be well informed, protect yourself and others by washing your hands, hand sanitizer, staying away
from people (World Health Organisation, 2020).
In addition, the organisation could lose money if some members drop out as they are not getting the
full experience. This is because dancing is all about intimacy, interpretations, emotions, and these are
difficult to accomplish when trying to social distance.
8.1.2 Economic
Dance is a crucial part of the creative industries in the UK. About £92 billion per year of its contribution
to the economy is far from insignificant. Dance in the UK attracts international talent, where people
from Europe can train at respected fee paying institutions, such as The Royal Ballet School, English
National Ballet School, or Rambert School etc. It also contributes to diverse performing and
choreographic talents (Ballet Position, 2018).
8.1.3 Social
Dance is important in different aspects such as education, health, social unity, and regeneration.
People dance for so many reasons like for fun, recreation, social, health etc. Research was undertaken
by the Foundation for Community Dance identified over 73,000 participatory projects, engaging over
4.7 million people in 2000 (Richards, 2013).
Dance Shows
Children (male and female) are wanting to become dancers and be famous and rich, high percentage
shows that they would rather become a teacher or doctor or any profession that requires helping
others (Richards, 2013).
53

Rising level of Obesity

Overall, dance companies like JustOne Theatre Arts could strategically target individuals that are trying
to get fit and active.
8.1.4 Technology
Internet
Dance has the opportunity to be innovative and cutting edge on the web, with its direct visual impact
which is why dance companies need to know what technology is available to them (Ashley, 2016).
There is pressure on dance studios to make sure they are not being left behind. This is because the
dance industry is quite competitive and fast moving so they always need something to make them
stand out (Ashley, 2016).
Overall, factors mentioned previously could influence consumer’s decisions to join or not join some
organisations. If a small dance company like Justone Theatre Arts Ltd know what technology is
available, it will prevent their company from spending significant amount of money on developing a
technology that would become outdated or useless (Ashley, 2016).
8.1.5 Legal
Moreover, it is good for dance companies to have a legal advisor but some dance organisations such
as Justone Theatre Arts Ltd might not have the money or resources to do this. But they can still educate
themselves about the legislations that concerns their organisations.
Consumer’s Right
This law replaced and combined three parts of consumer legislation which are: the Sale of Goods Act,
Unfair Terms in Consumer Contracts Regulations, and the Supply of Goods and Services Act
(Legislation GOV UK, 2020). This Act caters for dance companies like JustOne Theatre Arts and their
members.
Health and Safety at Work Act

Justone Theatre Arts need to ensure that they abide by all the legislations that impacts their company
as this could affect the dance market (Health and Safety Executive, 2020). They also need to comply
with the new UK laws because of Brexit. If Justone Theatre Arts failed to comply with these regulations,
they could face severe legal and social implications. (Health and Safety Executive, 2020).
8.1.6 Environmental
Dance injuries can sometimes occur due to environmental factors that are beyond dancers’ control.
Justone Theatre Arts needs to be aware of this and take appropriate action. Some of these factors are
weather, climate conditions and temperature (Mosko, 2018). For example, If the dance studio is too
cold, dancers might not be able to properly warm-up, or be able to keep the body warm while dancing.
Also, if the studio is too hot, it may lead to loss of water and excessive sweating which could cause
muscle cramps or spasms (Mosko, 2018).
Geographical location
54

Another factor could be the studio floor or the geographical location of where the dance studio is (if
the studio is slanted or up a hill etc). Justone Theatre Arts Ltd needs to be aware that a concrete floor
or poorly sprung wood floor (laid over concrete) is harmful and damaging for a dancer’s body. This is
because a dancer’s floor needs to absorb the force of gravity as the dancer moves (Mosko, 2018).
8.2 Appendix 2 – Micro Analysis
8.2.1 Market Conditions

Furthermore, one trend in the dance industry is the increasing number of dance studios that are going
online (Daychak, 2015). This gives members regular updates, the latest news, and more. There are
also social media trends, many studios have a presence whether it is on Twitter, Facebook or
Instagram (Daychak, 2015). Moreover, the dance industry is now a growing trend for fitness (Daychak,
2015).
8.2.2 Intermediaries, Suppliers and Stakeholder
The environment we live in is progressively changing and more diverse, so the stakeholder’s
expectations needs to be satisfied as well. The organisation must be able to comply with the
stakeholders, the customers, the supplier, and the brand’s integrity (Reeves and Deimler, 2011). Most
importantly, the customer/members need to be kept happy because the organisation relies on them
financially (Kotler et al, 2015).
8.2.3 Porters 5-force Analysis

Competitive Rivalry:
Operating in the dance industry market, Justone Theatre Arts Ltd has a highly competitive rivalry and
significant amount of direct and indirect competitors. According to (Masterson and Pickton, 2014),
direct competitors are those that offer a service that is similar to a company e.g., the local
competitors but indirect competitors are those that compete for consumer’s time and money which
includes other physical activities such as sports.
Threat of new entrance:

There are moderate barriers to entry in Justone Theatre Arts Ltd because there will not be another
new start up local dance company in Cardiff anytime soon. Only one dance company are competing
with Justone Theatre Arts Ltd which is Rubicon Dance which is shown on the Perceptual map. This is
because both dance company has a similar structure in every aspect such as dance types, prices,
qualified teachers etc. but there is no risk Justone Theatre Arts Ltd being demoted which is why it is
at a moderate level of threat (Porter, 1979).
Bargaining Power of Buyers:

All dance company especially local ones such as Justone Theatre Arts Ltd are heavily dependent and
trusting on their customers. For that reason, their customers are more important to them than they
are to their customers (Porter, 1979). This is because people have chosen to spend their income with
them. This shows there is a loyal customer base at the Justone Theatre Arts Ltd because they are still
in business as they have regular customers. These types of customers are likely to stick Justone
55

Theatre Arts Ltd especially with the situation the economy is going through with the pandemic
(Porter, 1979).
However, the loyal customers are not enough to keep Justone Theatre Arts Ltd successful because it
is the number of members, they have that holds the bargaining power. The stronger the power of
buyers, in this case customer and stakeholders, the more likely it is that they will be able to force
down prices and reduce the profits of firms that provide their services (Porter, 1979).
Threat of substitutes products or services:

There is a low threat of substitution for Justone Theatre Arts Ltd or any dance company. This is due
to the fact that dance is a physical interactive activity which is hard to substitute. There are online
dance lessons and technologies where people can learn how to dance but it will not be at a
professional level to get individuals into professional dance schools (Porter, 1979).
Bargaining Power of Suppliers:

There are several suppliers from different areas of the business that could influence Justone Theatre
Arts Ltd. There Suppliers range from dancewear (shoes and clothes), teachers, members, performing
arts equipment etc (Porter, 1979). Suppliers operate in a competitive market so it will be hard for
them raise up their prices because there are vast alternative suppliers Justone Theatre Arts Ltd could
go with if their prices are superior (Porter, 1979).
The member/students and teachers are the key suppliers to the organisation because they have a
strong influence which makes the organisation their profit and suppliers can decide the terms and
conditions on which business is conducted (Porter, 1979).
8.3 Appendix 3 – Number of daily active Facebook users
56

8.4 Appendix 4 – Questionnaire with males 18+
57

8.5 Appendix 5 – Questionnaire with parents with male child/children
58

8.6 Appendix 6 - Mission statement and Brand Values
By analysing the website, it was apparent that the company’s mission statement “Providing a space
to learn and practice while giving exceptional experiences” (Justone Theatre Arts, 2021). This reflects
on the organisation’s brand values about the perception of enjoyment and learning at the same time.
The organisation prides themselves on high quality teaching and learning experiences. Some of the
values I have observed on the website are respect for all individuals, creativity, integrity, diverse range
of dance forms and excellence in professional practice (Justone Theatre Arts, 2021).
59

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‘To Increase Male participation in dance’.

Faith Inumoh BSP6008

Signed by: Faith Inumoh

Faith Inumoh BSP6008

Faith Inumoh BSP6008

Table 1 – Stakeholder Mapping

Table 2 – Communication Objective

Table 3 – Communication Objective

Table 4 – Communication Objective

Table 5 – Communication Objective

Table 6 – Communication Objective

Table 7 – Sales Objective

Table 8 – Financial Objective

Table 9 – Integrated Marketing Mix

Table 10 – Gantt Chart Year 1

Table 11 – Gantt Chart Year 2

Table 12 – Gantt Chart Year 3

Table 13 – Key Performance Indicators (KPI’s)

Faith Inumoh BSP6008

Figure 1 – Economic: UK Unemployment Rate

Figure 2 – Social: Rising Levels of Obesity

Figure 3 – Social: Rising Levels of Obesity

Figure 4 – Market Conditions: Participation in Dance

Figure 5 – Market Conditions: Engagement in Dance

Figure 6 – Positioning Map 1

Figure 7 – Positioning Map 2

Figure 8 –Porter’s 5 Forces

Figure 9 – Customer Segment: Rachel Watson

Figure 10 – McKinsey 7s Model

Figure 11 – Organisational Structure

Figure 12 – TOWS Matrix Analysis

Figure 13 – Segmentation: Current Market 1 – Gen Z: Sarah Evans

Figure 14 – Segmentation: Current Market 2 – Millennial: Peter and Julie Edward

Figure 15 – Segmentation: Current Market 3 – Millennial: Jessica Day

Figure 16 – Segmentation: New Market 1 – Millennial: Sam Ross

Figure 17 – Segmentation: New Market 2 – Millennial: Toby Gallery

Figure 18 – Perceptual Map 1

Figure 19 – Perceptual Map 2

Figure 20 – Growth Ansoff Matrix

Figure 21 – Campaign 1: PR University Event

Figure 22 – Campaign 2: Social Media Contents - Instagram

Figure 23 – Campaign 2: Social Media Contents – Facebook

Figure 24 – Campaign 3: SEO and Google Ads

Figure 25- Campaign 3: Website

Figure 26 – Campaign 4: Pre-launch for Competition and Hashtag (#JTCallingallthemales)

Figure 27 – Campaign 4: Competition and Hashtag (#JTCallingallthemales)

Faith Inumoh BSP6008

Faith Inumoh BSP6008

5.1 Integrated Marketing Mix ......................................................................................................... 39

Faith Inumoh BSP6008

Faith Inumoh BSP6008

2.0 Situational Analysis

2.1 Macro – Environment

Faith Inumoh BSP6008

2.1.6 Exchange and Inflation rates

Faith Inumoh (Figure 1, UK unemployment rate) BSP6008

2.1.9 Interest and disinterest in Dance

2.2 Dance shows

Faith Inumoh BSP6008

2.2.1 Rising levels of obesity

(Figure 2, Rising levels of obesity)

(Figure 3, Rising levels of obesity)